Blurring Instructions: Instructional Elements as Poetic Constructs

In contemplating the title of Todd Van Buskirk’s string quartet, which functions as both a descriptor and an instruction, it’s worth considering that in technical instructions, it’s essential to maintain concise wording.

Additionally, organizing the instruction in a way that allows readers to locate and follow each step easily enhances usability and effectiveness. By emphasizing clarity, logic, and accessibility in written instructions, individuals can ensure that their intended message is communicated effectively, mirroring the meticulous approach evident in Van Buskirk’s string quartet.

Entitled “31 Measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b is on p.125,” this composition stands as a fusion of music and meta-commentary, inviting performers and scholars alike to consider.

At first glance, the title itself appears to be a mere descriptor, indicating the location of a specific excerpt within Mozart’s renowned String Quartet No.16. Rather than serving solely as a guide to locate the designated measures, the title is also a set of instructions guiding the performer or reader to the designated musical passage. To further emphasize this the title is also printed as a header on every page.

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The title, “31 Measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b is on p.125,” assumes a structural significance evoking parallels to poetic form. Page 125, designated as the locus of these measures, assumes a pivotal position within the score, analogous to a focal point in a literary composition, where thematic elements converge.

The recurring header, echoing the title throughout the book, mirrors the refrain of a poetic verse, through the textual landscape with a rhythm akin to poetic meter. The interplay between the title, the location of the measures, and the book’s construction underscores a deliberate editing of elements reminiscent of poetic structure.

In essence, the score becomes a self-referential artifact. Each repetition of the title serves as a motif, thereby imbuing the excerpt of Mozart’s quartet with a sense of self-awareness. The act of locating the designated measures on page 125 becomes an integral component of the performance, transforming the physical score into a stage for artistic expression, like performance art.

Moreover, Van Buskirk’s quartet challenges established notions of authorship and interpretation within the classical canon. By prominently featuring Mozart’s work in its title, the composition establishes a dialogue with the historical legacy of the renowned composer. Yet, it simultaneously asserts its own identity, asserting Van Buskirk’s creative agency in reshaping the musical landscape.

But what lies beyond the confines of these 31 measures? Is it a mere fragment of Mozart’s larger masterpiece, or does it contain within it the essence of the entire quartet, distilled into its purest form? The answers, perhaps, lie in the interpretation of the performers and the imagination of the listener.

In performance, Van Buskirk’s quartet presents a formidable challenge to musicians. One interpretation of the score may indeed involve strict adherence to the music contained within the designated 31 measures on page 125. In this approach, performers focus solely on the notes and markings presented within this confined space, treating the surrounding text as ancillary to the musical experience.

However, an alternative interpretation may advocate for a more expansive engagement with the score, incorporating the surrounding text as an integral component of the performance. In this interpretation, the instructive text serves as a catalyst, providing context, narrative cues, or conceptual guidance, wherein performers collaborate with actors, dancers, or visual artists to create a multi-dimensional performance experience.

But why page 125? What significance does this specific page hold in the grand tapestry of the quartet?

It is intriguing to consider the potential numerological significance of the number 125.

According to numerological interpretations, the number 125 resonates with energies of building, business, and leadership. With its foundation number being 8, symbolizing authority and material accumulation, and its constituent digits 1, 2, and 5 representing independence, cooperation, and freedom, respectively, the number 125 embodies a complex blend of qualities that mirror the composition’s multifaceted nature.

Those whose personality number aligns with 125 tend to exude qualities of authority, self-sufficiency, and cooperation, mirroring the composition’s directive nature while fostering collaborative efforts. Similarly, individuals whose destiny number incorporates 125 cherish their ability to oversee projects comprehensively, valuing independence yet welcoming teamwork when it serves the greater purpose.

For the number 125, potential negative connotations may arise from an overemphasis on control, rigidity, or an excessive focus on independence to the detriment of collaboration.

Individuals influenced by the energy of 125 may sometimes struggle with issues of authoritarianism, insisting on their own way without considering the perspectives of others. This can lead to conflicts within collaborative endeavors, as their strong sense of independence may hinder effective teamwork and cooperation.

Additionally, the energy of 125 may manifest as a tendency towards stubbornness or inflexibility, making it difficult for these individuals to adapt to changing circumstances or alternative viewpoints.

In this sense, the composition’s designation of page 125 as the locus of convergence between text and music aligns with these numerological attributes, suggesting a deliberate orchestration of energies that prioritize organization, efficiency, and collective endeavor.

Throughout the history of music, composers have often embedded hidden messages, cryptic symbols, and personal narratives within their scores. Composers like Alban Berg and Arnold Schoenberg, pioneers of the Second Viennese School, frequently employed techniques such as serialism and tone row manipulation to encode hidden meanings within their compositions.

In Berg’s “Lyric Suite,” for example, scholars have identified coded references to his secret love affair with Hanna Fuchs-Robettin through musical motifs and numerological patterns.

Similarly, Arnold Schoenberg, known for his pioneering atonal compositions, employed techniques such as serialism and dodecaphony to encode intricate mathematical patterns and structures within his music.

Beyond the Second Viennese School, composers across genres and eras have employed similar techniques; from Johann Sebastian Bach’s use of musical cryptograms in his compositions to Dmitri Shostakovich’s subtle protests against the Soviet regime in his symphonies, hidden messages in scores serve as windows into the composers’ inner worlds, inviting listeners to decipher the secrets woven into the fabric of their music.

Todd Van Buskirk’s composition, with its enigmatic title and singular focus on page 125, resonates with the numerological essence of 125, embodying qualities of authority, independence, and efficiency.

From Scholarly Analysis to Performative Exploration: Unveiling the Musical Shell of “symphony (no. 4b)”

The given title provides a detailed description of the contents of Jean Marie Hellner’s “Robert Schumann’s Symphony in D Minor, Op.120: a critical study of interpretation in the nineteenth century German symphony” but without the body text, which was deleted by the editor Todd Van Buskirk. The removal of the body text leaves behind a set of musical fragments that can be interpreted and performed independently.

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The title page to symphony (no.4b). While the long title assigned to the symphony possesses a certain poetic quality in it’s repetitions, it is also not without its criticisms, particularly regarding its length. The intricate composition of the title seeks to encapsulate the essence of the dissertation. However, the extensive nature of the title may, at times, raise eyebrows and prompt discussions about its practicality and accessibility. The verbosity and complexity of the title might challenge traditional expectations and create a barrier to understanding for some audiences.

Todd Van Buskirk presents his own reinterpretation of the symphony form by designating the score derived from Jean Marie Hellner’s dissertation as “symphony (no. 4b)” within his broader opus titled “symphony no. 4.” This composition encompasses not only Symphony (no. 4b) but also symphony (no. 4a) and symphony (no. 4c). In other words, Van Buskirk’s 4th symphony in a trilogy of associated scores, each denoted by a distinct letter, yet united under the overarching umbrella of “symphony No. 4.”

Each score draws inspiration from a distinct dissertation, but their common thread lies in the thematic and conceptual foundations they explore. Van Buskirk masterfully weaves together these disparate scholarly sources, using them as the basis for his musical creations while discarding the accompanying body text. This deliberate act of extracting and preserving the musical examples results in a series of interconnected symphonies that transcend the boundaries of academic discourse and enter the realm of transformative musical expression. By unifying these scores within “Symphony No. 4,” Van Buskirk invites audiences to embark on a profound journey, where the ideas and research presented in the original dissertations are reimagined and reinterpreted through the transformative power of symphonic music.

An example from page 190

Example from page 194

In symphony (no.4b) the remaining musical examples highlight the involvement of Gustav Mahler and Woldemar Bargiel, as well as discrepancies between Robert Schumann, Clara Schumann, and Alfred Dörffel. This conceptual music score, with its documented changes to instrumentation, dynamics, thematic elements, articulations, and more, presents a unique case within the realm of conceptual music.

Conceptual music is a genre that emphasizes ideas, concepts, and intellectual constructs as integral components of the musical work. It often challenges traditional notions of composition and performance, pushing the boundaries of artistic expression. The given symphony score exemplifies conceptual music through its exploration of variations, alterations, and inconsistencies introduced by different composers and sources.

In comparison to other examples of conceptual music, this symphony score stands out for its meticulous documentation of specific pages and details. The inclusion of Gustav Mahler’s changes to instrumentation demonstrates a collaborative and evolutionary aspect of the composition, as one composer’s influence is layered upon another’s original work. Similarly, Woldemar Bargiel’s modifications to patterns of slurring add another layer of complexity and interpretation to the score.

The presence of discrepancies between different sources, including Schumann, Clara Schumann, and Alfred Dörffel, adds an intriguing dimension to the score. These variations in pitch, instrumentation, articulation, dynamics, rhythm, and patterns of slurring and beaming offer insight into the interpretive nature of music, where multiple perspectives can coexist and shape the performance.

While the given symphony score focuses on specific changes and discrepancies, it is important to note that conceptual music can encompass a wide range of approaches. Other examples of conceptual music might delve into philosophical or ideological concepts, explore unconventional notation systems, incorporate interdisciplinary elements such as visual or theatrical elements, or challenge traditional notions of structure and form.

Compare the given conceptual music score, which consists of musical examples from Jean Marie Hellner’s dissertation, with other conceptual music scores:

John Cage’s “4’33”: This iconic conceptual score instructs the performer to not play their instrument for the duration of 4 minutes and 33 seconds. It challenges the traditional notion of music by emphasizing the ambient sounds that occur in the performance space, making the audience actively listen to the environment.

Karlheinz Stockhausen’s “Klavierstück XI”: This score features graphical notations and abstract symbols, allowing the performer to interpret and realize the composition based on their own intuitive understanding. It focuses on the performer’s exploration and improvisation within the defined parameters set by Stockhausen.

Fluxus Scores: Fluxus was an artistic movement that emerged in the 1960s, and its scores often involved unconventional instructions and actions. For example, George Brecht’s “Water Yam” score provides simple and poetic instructions, such as “Drip water into a closed piano” or “Tie two sticks together with a string.” The title of Van Buskirk’s symphony, with its extensive enumeration of specific changes and discrepancies within Schumann’s Symphony No. 4 in D minor, Op. 120, takes on the character of a Fluxus score. The enumeration of specific pages and instances creates a sense of precision and detail, akin to a Fluxus score’s instructions.

An example of a Fluxus style score

The Fluxus nature of the title to Van Buskirk’s symphony

Cornelius Cardew’s “Treatise”: This extensive graphic score consists of 193 pages of abstract shapes, lines, and symbols. It does not provide specific instructions but serves as a visual representation that invites performers to interpret and create their own musical gestures based on the visual cues presented.

From Cornelius Cardew’s “Treatise”

In comparison to these examples, the given conceptual music score derived from Jean Marie Hellner’s dissertation retains a more traditional approach by providing specific excerpts from the symphony.

However, it’s worth noting that the given score still retains a conceptual aspect in its selective extraction of musical examples and the removal of the body text. It invites performers to engage with these specific sections, explore their interpretations, and contribute their own artistic choices within the framework of Schumann’s symphony.

Overall, these conceptual music scores demonstrate the diversity of approaches within the realm of conceptual music, ranging from silence and open interpretations to graphical notations and unconventional instructions. Each score challenges traditional notions of music and invites performers to engage with the compositions in unique and thought-provoking ways.